luebeard 



(Barbe Bleue) 




Caroline W. Thomason 



The Penn Publishing Company 



Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOIiKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubes. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
When Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields, Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OZiD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank DuMO^fT. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the villain and his female accomplice are both starting 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



BLUEBEARD 

BARBE BLEUE 



A Play for Children in 
Three Scenes 

arranged to be given 
in English or French 



By 
CAROLINE WASSON THOMASON 

author of 

" Red Riding Hood," " Cinderella," " The Three 
Bears," '* Beauty and the Beast " 



t 



THE PENN PUBLISHING COMPANY 

PHILADELPHIA 

1921 






COPYRIGHT 
^921 BY 

THE PENN 
PUBLISHING 
COMPANY 




Bluebeard 

Barbt Bltut 



©CI.D 57i37 



M 17 ;92i 



BLUEBEARD 

BARBE BLEUE 



CHARACTERS 

Personnages 

BLUEBEARD Barbe Bleue 

MRS. BLUEBEARD, HIS Madame Barbe Bleue, 

WIFE sa femme 

THE LADY OF RANK, La Dame de Qtialite, sa 

HER MOTHER mere 

ANNE, HER SISTER Anne, sa s^ur 

THE DRAGOON, HER Le Dragon, son frere 

BROTHER 

THE MUSKETEER, HER Le Mousquetatre, son 

BROTHER frere 

THE NOBLEMAN Le Genttlhomme 

THE HONEST MAN UHonnete Homme 

THE WIVES OF BLUE- Les Femmes de Barbe 

BEARD Bleue 



TIME OF PLAYING Forty-five Minutes 



Told in Three Scenes — All in Bluebeard's 
Drawing-room 

3 



COSTUMES, ETC. 

BLUEBEARD. Red and yellow striped robe com- 
ing almost to his feet. Blue stockings, red felt 
slippers. High red and yellow turban. Blue 
beard. If desired the long white beard on a 
" Santa Claus " mask can be dyed blue. 

MRS. BLUEBEARD. Scene I. Purple, panel-front 
gown with yellow decoration, train. Hair 
in high, oriental style. Scene 11. Persian 
kimono, bedroom slippers, hair hanging loose, 
carrying candle, wearing light scarf over shoul- 
ders. Scene III. Same as Scene I, except with 
hair tied back carelessly, and hanging down 
back. 

LADY OF RANK. Scenes I and II. Black silk long 
coat, furs, hat with heavy plumes, elaborate 
strand of beads. 

ANNE. Scene I. Green long coat, green stock- 
ings, white slippers, green hat with white 
plumes. Scene III, first same as I, then she re- 
moves wraps ; thin, sea-green gown, hair in low 
coil with brilliant comb decorations. 

THE BROTHERS. Khaki uniforms, leggings, bright 
sashes, red and green respectively, swords, red 
and green caps, respectively. ' 

THE NOBLEMAN. Dress coat, frilled blouse, 
knickerbockers, red stockings, pumps, red hat 
with white plume. 

4 



BARBE BLEUE 



THE HONEST MAN. Dress coat, frilled blouse, 
knickerbockers, gray stockings, pumps, gray hat 
with black plume. 

THE WIVES OF BLUEBEARD. See Description of 
Bluebeard's Closet. 



SCENE PLOT 







SCENES I, n AND HI. In Bluebeard's drawing- 
room. The walls and floor covered with rugs 
with oriental designs. A long mirror. Two 
small tables with Persian coverings. A large 
chair at one table. A small couch draped with 
fantastic drapery. Several potted plants, rich 
in color. 



DESCRIPTION OF BLUEBEARD'S 
CLOSET 

If the stage is large the closet may extend com- 
pletely across the back, there being a curtain used 
to conceal the interior from the audience until the 
proper time. Probably, however, a series of two 
or three screens at one side of the stage would 
fit the ordinary high school stage better. (See 
diagram.) 

The interior of the closet lined with white cloth. 
Slits in the cloth about five feet from the floor 
admit the heads of some four or five girls. Their 
hair is drawn through the slits, and is pinned 
securely above their heads, giving the appearance 
of heads suspended by the hair. The girls' faces 
are colorless, their eyes closed. To make them 
high enough they will stand on chairs behind their 
curtain; or if the wait between the ends of Scene 
II and Scene III is too trying in this position, they 
may sit on chairs placed on a table. 

A few headless dress forms, representing 
bodies, are lying about, or standing about. 
There is a chopping block, the cutlass, or hatchet, 
stuck into it. A whetstone is also lying on the 
block. There are a few bones, and perhaps a 
skull scattered about. Sheets of paper stained 
red will give the appearance of spots of blood. 

6 



PROPERTIES 

The puddle of blood into which the key drops may 
be a shallow vessel of red ink. 

Keys on ring, bowl of water, soap, brush. 
Bluebeard's wife must not forget her handker- 
chief, scarf and candle for Scene II. Papers for 
Bluebeard. A ladder for Anne outside, 

MUSIC 

The music for the round at the end of the first 
scene, " My Castle Fine," may be found in 
" French Rounds and Nursery Rhymes," sold by 
G. Schirmer, New York City. 



BLUEBEARD 

BARBE BLEUE 

SCENE I — Bluebeard's Drawing-room 

TIME. One month after the marriage of Blue- 
heard and the younger daughter of the Lady of 
Rank had been concluded. 
(the wife is reclining on a divan. Sighs 

deeply, seems unhappy.) 

(Enter Bluebeard) 

BLUEBEARD. I am obliged to make a journey- 
out of town, for six weeks at least, upon a matter 
of importance. 

Je suis oblige de faire un voyage en province^ de 
six semaines au moins, pour une affaire de conse- 
quence. 

WIFE. Oh ! For six weeks ! 

Oh/ De six semaines/ 

BLUEBEARD. Yes, for six weeks at least. I 
beg you to amuse yourself during my absence. 

Oui, de six semaines^ au moins. Je vous prie 
de vous diver tir pendant mon absence, 

9 



BLUEBEARD 



WIFE. My good friends — 

Mes bonnes amies — 

BLUEBEARD. Send for your good friends. 
Take them to the country if you wish. Every- 
where make merry. 

Faites venir vos bonnes amies. Menez-les a la 
campagne, si ga vous plait. Partout faites bonne 
chere. 

WIFE. Thank you very much, husband. 

Je vous remerciey mon mari. 

BLUEBEARD {displaying a bunch of keys). 
There are the keys to the two large stores of furni- 
ture. 

Voila les clefs des deux grands garde-meubles. 

WIFE {taking the keys). Yes. 

Oui. 

BLUEBEARD {indicating other keys). There 
is the one to my strong boxes where my gold and 
silver are. 

Voila celle de mes coffres-forts, ou sont mon or 
et mon argent. 

WIFE. Yes, yes ! Your gold and your silver ! 

Oui, oui! Votre or et votre argent! 

BLUEBEARD. There is the one to my gold and 
silver plate, which is not used every day. 

Voila celle de la vaisselle d'qr et d^argent, qui 
ne sert pas tous les jours. 

WIFE. Gold and silver plate ! 

lO 



BARBE BLEUE 



La Vaisselle d'or et d'argent! 

BLUEBEARD. There is the one to my caskets 
where my precious stones are. 

Voila celle de mes cassettes^ ou sont mes pier- 
reries. 

WIFE. Jewels ! 

Pierreries! 

BLUEBEARD. And there is the pass-key to all 
the apartments. 

Et voila le passe-partout de tons les apparte- 
ments. 

WIFE. I shall guard them carefully. 

Je les gardera't avec soin. 

BLUEBEARD {voice becoming louder). As for 
this little key, it is the key of my closet at the end 
of the drawing-room — there. 

Pour cette petite clef-ci, c^est la clef de mon 
cabinet au bout du salon — la-bas. 

WIFE. Oh ! I have not been in that room. 

Oh! Je n'ai pas ete dans cette chambre. 

BLUEBEARD. Open all the doors, go every- 
where, but this little closet — 

Ouvrez tout, allez partout, mats ce petit cab- 
inet — 

WIFE. But what is in the closet? 

Mais qu'y a-t-il dans le cabinet? 

BLUEBEARD. I forbid your entering this little 
closet ! 

II 



BLUEBEARD 



Ce petit cabinet, je vous defends d'y entrer! 

WIFE. What! 

Comment! 

BLUEBEARD. And I forbid your doing so in 
such a way that, if you happen to open it, you 
must expect everything from my anger! 

Et je vous defends de telle sorter que, s'il vous 
arrive de I'ouvrir, il faut vous attendre a tout de 
ma colere. 

WIFE. Mercy! I shall not open it! But 
what is in it? 

Mon Dieu! Je ne I'ouvirai! Mais qu^y a-t-il 
dans luif 

BLUEBEARD (sternly). Will you obey my 
command strictly? 

Ob server ez-vous exactement mon ordref 

WIFE. I promise to obey your order strictly. 

Oui, je promets de ^observer exactement. 

BLUEBEARD {embracing her in perfunctory 
manner). Good-bye. 

Adieu. 

WIFE. Good-bye — a pleasant trip ! 

Adieu — -bon voyage! 

{Exit BLUEBEARD) 

WIFE. Dear me ! I am frightened ! What is 
in that closet of Bluebeard? 

12 



BARBE BLEUE 



Vraiment! Je suis efrayee! Qu^y a-t-il dans 
ce cabinet de Bar be Bleuef 

{She approaches the door of the closet on 
tip'toe^ fits the key in the lock, removes it, 
shakes her head.) 

No, he forbade my entering there! 
Non, il m'a defendu £y entrer! 

{Enter the LADY OF RANK, ANNE, the DRAG- 
OON, the MUSKETEER, the NOBLEMAN, 

and the HONEST man.) 

LADY. Greetings, daughter! 

Bon jour, ma pile! 

DRAGOON. Good-day, sister! 

Bonjour, ma sceur! 

MUSKETEER. Good-day, little sister! 

Bonjour, ma petite sceur! 

ANNE {kissing her). How pretty you are, 
dear! 

Que tu es jo lie, ma cherie! 

NOBLEMAN. How are you, Madam? 

Comment vous portez-vous, Madame? 

WIFE. I am very well, thank you. Sir. 

Je me porte tres bien, merci. Monsieur. 

HONEST MAN {bowingt low, and kissing her 
hand). Madam, accept my sincere compliments, 
if you please. 

13 



BLUEBEARD 



Madame, accepter, je vous prie, mes compli- 
ments empresses, 

WIFE. I thank you, my friend. 

Je vous remerciey mon ami. 

LADY. We did not wait to be sent for. 

Nous n'avons pas attendu qu'on nous envoydt 
chercher. 

AKNE. We are impatient to see all the rich- 
ness of your house. 

Nous avons de I'impatience de voir toutes les 
richesses de ta maison. 

WIFE {to all her guests). I am delighted that 
you have come. 

Je suis bien aise que vous soyez venus. 

Anne. We did not dare to come while your 
husband was here because of his blue beard, which 
frightens us. 

Nous n'osions venir pendant que ton mart y 
etait, a cause de sa harhe hleue, qui nous fait 
peur. 

LADY. See the keys ! Gracious me ! 

Voyez les clefs! Bon Dieu! 

wife. Yes, Bluebeard gave them to me. 
Here are the keys to my two large stores of furni- 
ture. 

Out, Barhe Bleue me les a donnees. V oici clefs 
de mes deux grands garde-meuhles. 

LADY. Your two large stores of furniture ! 



BARBE BLEUE 



Tes deux grands garde-meubles! 

WIFE. Here is the one to my strong boxes 
where my gold and silver are. 

Void celle de mes coffres-forts^ oil sont mon or 
et mon argent. 

DRAGOON. Your gold and silver! 

Ton or, et ton argent! 

WIFE. Here is the one to my gold and silver 
plate, which is not used every day. 

Void celle de ma vaisselle d^or et d' argent, qui 
ne sert pas tons les jours. 

MUSKETEER. Gold and silver plate ! My 
stars! 

La vaisselle d'or et d'argentf Ma foil 

WIFE. Here is the one to my caskets where my 
precious stones are. 

Void celle de mes cassettes, ou sont mes pier- 
reries. 

ANNE. Precious stones! 

Les pierreries! 

WIFE. And here is the pass-key to all the 
apartments. 

Et void le passe-partout de tous les apparte- 
ments. 

NOBLEMAN. The pass-key to all the apart- 
ments — you are lucky ! 

Le passe-partout de tous les appartements — 
vous etes heureusef 

15 



BLUEBEARD 



WIFE. And this key, this little key, it is the 
key to Bluebeard's closet — there. 

Et cette clef, cette petite clef, c'est la clef du 
cabinet de Barbe Bleue — la-has. 

HONEST MAN, Blucbeard's closet? My dear 
friend, what is in Bluebeard's closet? 

Le cabinet de Barbe Bleue? Ma chere amie, 
qu^y a-t-il dans le cabinet de Barbe Bleue? 

WIFE (slowly). I do not know. 

Je ne sais pas. 

(wife and honest man walk toward the 
closet door. The others go about admir- 
ing the furniture and draperies.) 

LADY. See the number and the beauty of the 
tapestries! {Points down corridor outside.) 

Voyez le nombre et la beaute des tapisseries! 

NOBLEMAN. And the sofas, the cabinets, the 
stands, and the tables. 

Et des sofas, des cabinets, des gueridons, et des 
tables. 

ANNE. And the mirrors in which one can sec 
himself from head to foot. 

Et des miroirs ou Von se voit depuis les pieds 
jusqu'a la tete. 

DRAGOON. Our sister is very happy and for- 
tunate. 

Notre soeur est tres heureuse, et tres fortunee. 

i6 



£.<'-' 



BARBE BLEUE 



MUSKETEER. These furnishings are the most 
beautiful and the most magnificant that anyone 
has ever seen. Our sister is indeed fortunate. 

Ces garnitures sont les plus belles et les plus 
magnifiques qiion ait jaimais viies. Notre sceur 
est bien f or tune e. 

{Exit LADY, ANNE, the brothers, and the 
NOBLEMAN, all intent upon the surround- 
ings. ) 

HONEST MAN {who has tried the closet door 
several times as he and wife have conversed) . 
Are you happy in your elegant surroundings? 

EteS'Vous heureuse dans ce milieu elegant? 

WIFE. Why, yes — but the Bluebeard closet ! 

Eh bien, oui — mais le cabinet de Barbe 
Bleuef 

HONEST MAN {sighing). That I might have 
been rich ! 

Feusse ete richef 

WIFE. I do not understand — 

Je ne comprends pas — 

HONEST MAN. I said nothing. {Aside.) 
She does not know that I have adored her for a 
long time. 

Je ne dis rien. Elle ne sait pas que je I'ai 
adoree depiiis longtemps. 

17 



BLUEBEARD 



{Enter lady, anne, the brothers, and the 

NOBLEMAN.) 

LADY. Wc arc going now, daughter; I am 
glad that I gave you to Bkicbeard. 

Nous nous en allons maintenant, ma fille. Je 
suis bien aise de te donner a Barhe Bleue. 

DRAGOON. Good-bye, sister. We shall re- 
turn tomorrow. 

An revoir, 7na soeur. Nous reviendrons de- 
main, 

MUSKETEER. Farewell, sister. We shall re- 
turn tomorrow. 

Adieu, ma soeur. Nous reviendrons demain. 

ANNE. I shall return tomorrow also, sister, 
very early. 

Je reviendrai demain, aussi, ma soeur, he bonne 
heure, 

HONEST MAN. And I shall return sometime — 
I hope! 

Et je reviendrai un jour — fespere! 

NOBLEMAN {laughing). Madam's house Is 
splendid! Let us sing ** My Castle Fine! " 

La maison de Madame est tres belle! Chan- 
tons ^^ Mon beau Chateau! ^' 

ALL {cluster about wife and sing) . 



1 8 



BARBE BLEUE 



MY CASTLE FINE {Roun^ 

MON BEAU CHATEAU 

Ah, my castle fine, * 
Tra la la la la la la la, 
Ah, my castle fine, 
Tra la la la la la lay. 
Better still is mine, 
Tra la la la la la la la, 
Better still is mine, 
Tra la la la la la lay. 

Ah, mon heau chateau, 
Ma tanf tire, lire, lire, 
Ah, mon heau chateau. 
Ma tanf tire, lire, lo. 
he notre est plus beau, 
Ma tant' tire, lire, lire, 
Le notre est plus beau. 
Ma tant' tire, lire, lo. 

We will break it down, 
Tra la la la la la la la, 
We will break it down, 
Tra la la la la la lay. 
Tell us what you'll take, 
Tra la la la la la la la, 

19 



BLUEBEARD 



Tell us what you'll take, 
Tra la la la la la lay. 

Nous le detruirons, 
Ma tanf tire, lire, lire, 
Nous le detruirons. 
Ma tanf tire, lire, lo, 
Laquelle prendrez-vous. 
Ma tanf tire, lire, lire, 
Laquelle prendrez-vous. 
Ma tanf tire, lire, lo. 

What you now see here, 
Tra la la la la la la la, 
What you now see here, 
Tra la la la la la lay. 
What will you give her, 
Tra la la la la la la la. 
What will you give her, 
Tra la la la la la lay. 

Celle que void. 
Ma tanf tire, lire, lire, 
Celle que void, 
Ma tanf tire, lire, lo. 
Que lui donnWez-vous, 
Ma tant' tire, lire, lire. 
Que lui donn'rez-vous, 
Ma tant' tire, lire, lo, 
20 



BARBE BLEUE 



Pretty jewels fine, 
Tra la la la la la la la, 
Pretty jewels line, 
Tra la la la la la lay. 
But we won't have these, 
Tra la la la la la la la, 
But we won't have these, 
Tra la la la la la lay. 

De jolis bijoux, 

Ma tant' tire, lire, lire, 

De jolis bijoux. 

Ma tant' tire, lire, lo. 

Nous n'en voulons pas, 

Ma tant' tire, lire, lire, 

Nous n'en voulons pas, 

Ma tant' tire, lire, lo. 



21 



SCENE II — Bluebeard's Drawing-room. 

Time — The same evening^ jive hours later, 

{Enter WIFE.) 

{She is carrying a candle ^ and the little key. 
She goes slowly to the closet door, places the key 
in the keyhole, removes it, places it in again.) 

WIFE. I cannot sleep until I know what is in 
the closet. 

Je ne puis dormir que je sache ce qu^il y a dans 
le cabinet, 

{With shaking hand she unlocks the door. 
At first she cannot see what is in the closet. 
Then the rays from her candle light up 
the interior. She screams, and drops the 
key in a puddle of blood. Finally she re- 
covers a little, and picks up the dripping 
key, holding it at arm^s length.) 

My heavens! It is stained with blood! 
Mon Dieu! Elle est tachee de sang! 

{She wipes the key with her handkerchief, 
then holds up the handkerchief all stained 
red, ) 

22 



BAJiBE BLEUE 



The blood does not go away! Mercy! I 
shaH wash it well. 

Le sang ne s^en va point! Bonte du del! Je 
la laverai bien. 

{She locks the closet door, and hurries from 
the room. Returns soon with a bowl of 
water, some soap, and a brush. She 
scrubs the key vigorously.) 

It remains covered with blood! The key is 
bewitched, and it is impossible to get it clean. 
When one cleans the blood from one side it re- 
turns on the other ! God help me ! 

Elle demeure toujour s macule e de sang! La 
clef est fee, et il n^y a pas moyen de la nettoyer 
tout a fait. Quand on ote le sang d'un cote, il 
revient de F autre! Dieu m'assiste! 

{Heavy tramping outside.) 

Who is there? 

Qui est la? 

BLUEBEARD {outside) . It IS I. Where are 
you? 

C'est moi. Ou etes-vousf 

WIFE {much terrified). What shall I do — 
what shall I do! {Throws scarf over the bowl, 
etc.) 

Que ferai'je — que ferai-je! 

2^3 



BLUEBEARD 



{Enter Bluebeard.) 

BLUEBEARD. I received some letters on the 
way informing me that the business that I was/ 
going to look after had been concluded to my ad- 
vantage. What is the matter with you? 

Je requs des lettres en chemin, qui m* apprirent 
que Vafaire pour laquelle fetais parti venait 
d!etre terminee a mon avantage. Qu'avez-vousf 

WIFE {forcing smile), I — ^ I am delighted at 
your prompt return, my husband. 

Je — je suis ravie de votre prompt retour, man 
maru 

BLUEBEARD. I shall Want my keys from you 
again tomorrow. 

Je vous redemandera mes clefs demain. 

WIFE (much disturbed) . Yes, yes, tomorrow! 

Qui, out, dt^f^ain/ 



CURTAIN 



24 



SCENE III — Bluebeard's Drawing-room. 
Time — The next morning. 

(Enter Bluebeard.) 

BLUEBEARD. Wife, wife! Come here at 
once. 

Ma femme, ma femmef Venez ici tout de 
suite, 

{Enter wife.) 

WIFE. What do you wish, husband? 

Que voulez-vous, mon marif 

BLUEBEARD. Give me my keys. 

Donnez-moi mes clefs, 

WIFE {strolling about adjusting curtains ^ at- 
tempting to appear calm ) . Yes, presently. 

Oui, tout a rheure. 

BLUEBEARD {looking up from papers in which 
he has been absorbed). Madam, give me my 
keys ! 

Madame^ donnez-moi mes clefs! 

WIFE. I shall get them! 

Je les apporterai! 

{Exit WIFE,) 
25 



BLUEBEARD 



(BLUEBEARD Strides over to the closet, and 
tries the door, grimaces ^ returns to his 
papers. ) 

{Enter anne.) 

ANNE. Good morning, brother-in-law. You 
have not been away long! 

Bonjour, mon beau-frere. Fous n^avez pas 
ete longtemps! 

BLUEBEARD. Yes, I returned last evening. 

Oui, je suis revenu hier soir. 

(anne removes her wraps. BLUEBEARD 
works over his papers.) 

{Enter wife.) 

anne. Good morning, sister, 

Bonjour, ma soeur. 

WIFE {to anne). Good morning. {To 
BLUEBEARD.) Here are your keys. 

Bonjour, Void vos clefs. 

BLUEBEARD {after examining the hunch of 
keys). How does it happen that the key to the 
closet is not among the others? 

D^oii vient que la clef du cabinet n^est point 
avec les autresf 

WIFE {quaking). I must have left it upstairs 
on my table! 

// faut que je Vaie laissee la-haut sur ma table! 

26 



BARBE BLEUE 



BLUEBEARD. Do not fail to give it to me soon. 
Ne manquez pas de me la donner tantot. 

{Exit WIFE running,) 

ANNE (examining the hangings). You have 
a beautiful house, brother-in-law. 

Fous avez une belle maison, mon beau-frere, 

BLUEBEARD {growling). Yes, Miss. {Calls.) 
Wife, bring the key! 

Out, Mademoiselle. Ma femme, apportez la 
clef! 

ANNE. Your tapestries and tables are ele- 
gant, brother-in-law. 

Vos tapisseries, et vos tables sont elegantes, 
mon beaU'frere, 

BLUEBEARD {impatiently). Wife, bring that 
key! 

Ma femme, apportez cette clef! 

ANNE. And your mirrors are magnificent. 

Et vos miroirs sont magnifiques. 

BLUEBEARD {stamping). Be quiet! {Calls.) 
Wife, bring that key! 

Restez tranquille! Ma femme, apportez cette 
clef! 

{Enter WIFE running. She hands the key 
to her husband, and turns quickly away.) 

27 



BLUEBEARD 



BLUEBEARD {closely Scrutinizing the key) 
Why is there blood on this key? 

Pourquoi y a-t-il du sang sur cette <leff 

WIFE. I know nothing about It! 

Je n'en sais rienf 

BLUEBEARD. You know nothing abowt It! 1 
know all about it. You have dared to go into the 
closet I 

Fous n^en savez rienf Je le sais hien^ moil 
Vous avez voulu entrer dans le cabinet! 

WIFE. Oh, oh! Heaven help me! 

Oh, oh! Dieu m^assiste! 

BLUEBEARD. Very well, Madam! You shali 
go and take your place among the women you 
have seen there ! 

Eh bien, Madame! Vous y entrerez, et irez 
prendre place aupres des dames que vous y avez 
vues! 

WIFE {throwing herself at his feet). Forgive 
me, forgive me, my husband! 

Pardonnez-moi, pardonnez-moi, mon mari! 

BLUEBEARD. NO! Never! 

NON! Jamais! 

ANNE. What is the matter, my dear sister — 
what is the matter? 

Qu^as-tUf ma chere soeur — .qu^as-tuf 

BLUEBEARD {to WIFE). You must die soon, 
j Madam! 

28 



BARBE BLEUE 



II faut mourir, Madame, et tout a Vheiire! 

WIFE. Since I must die, give me a little time 
to make my peace with God. 

Puisqu'il faut mourir donnez-moi un pen de 
temps pour prier Dieu. 

BLUEBEARD {taking out his watch), I grant 
you seven minutes, but not an instant more. 

Je vous donne un demi-quart d^heure, mais pas 
un moment davantage. 

(BLUEBEARD goes to the closet, unlocks it, 
and enters, leaving the door open. He 
goes from wife-head to wife-head, shak- 
ing his fist. Finally he picks up an enor- 
mous cutlass, and begins to sharpen it, oc- 
casionally trying the edge.) 

ANNE {slipping over, and looking into the 
closet). My heavens! His wives! 

Parhleu! Ses femmes! 

WIFE. Yes, yes! Anne, my sister Anne, 
ascend, I pray you, to the top of the tower to see 
if my brothers are not coming! 

Old, oui! Anne, ma sceur Anne, monte, je te 
prie, sur le haut de la tour, pour voir si mes 
freres ne viennent point! 

ANNE. Yes . . 

Oui — 

29 



BLUEBEARD 



WIFE. They promised that they would return 
today to sec me. 

Us m*ont promts qu'ls me viendraient voir 
^aujourd'hm. 

ANNE. Yes — 

Out — 

WIFE. And if you see them signal them to 
hasten. 

Et si tu les vois fais-leur signe de se hater. 

ANNE {running from room). I am going, I 
am going! 

Fy vais, j*y vaisf 

(wife falls on her knees at a sofa. After 
a few tense moments she calls to anne.) 

WIFE. Anne, sister Anne, do you see anyone 
coming? 

Anne J ma soeur Anne^ ne vois-tu rien venirf 

ANNE (who has mounted a ladder without). 
I see nothing but the sun which makes a dust, and 
the grass which seems green. 

Je ne vois rien que le soleil qui poudroie, et 
Vherbe que verdoie. 

BLUEBEARD {in censorious tone). Come 
quickly ! 

Viens tci vite. {Form of address changed 
from vous to tu purposely.) 

30 



BARBE BLEUE 



WIFE. Yet a moment, if you please! {T& 
ANNE.) Anne, my sister Anne, d© you sec any 
one coming? 

Encore un moment ^ s'il vous plait/ Anne, ma 
sosur Anne, me vois-tu rien venirf 

ANNE. I see nothing but the sun which makes 
a dust, and the grass which seems green. 

Je ne vols rien que le soleil qui poudroie, et 
Vherbe qui verdoie. 

BLUEBEARD. Come here quickly! 

Viens ici vitef 

WIFE. I am coming! {To anne.) Anne, 
my sister Anne, do you see anyone coming? 

Je m'en vats! Anne, ma sceur Anne, ne 
vois-tu rien venirf 

ANNE. I see a great dust that is rising in this 
direction ! 

Je vois une grosse poussiere qui vient de ce 
cote-ci! 

WIFE. Is it my brothers? 

Sont'ce mes freresf 

ANNE. Alas! No, my sister, it is a flock of 
sheep ! 

Helasf Non, ma sceur, c'est un troupeau de 
moutons! 

BLUEBEARD. Do you not intend to come I 

Ne veux-tu pas venirf 

WIFE. A moment more! {To ANNE.) 

31 



BLUEBEARD 



Anne, my sister Anne, do you see anyone coming ? 

Encore un moment! Anney ma sceur Anne, 
ne vois'tu rien venirf 

ANNE. I see two horsemen who are coming in 
this direction, but they are still far distant! 

Je vols deux cavaliers qui viennent de ce cote-ci, 
mats lis sont bien loin encore! 

ANNE {a moment later). God be praised! 
They are my brothers ! 

Dieu soit hue! Ce sont mes freres! 

WIFE. God be praised! 

Dieu soit loue! 

ANNE. I am signaling them as well as I can to 
hasten. 

Je leur fats signe tant que je puis de se hater. 

(BLUEBEARD now enters the drawing-room 
raging y gnashing his teeth, etc. wife 
staggers to her feet, takes a few steps to- 
ward him, and again falls to the floor.) 

BLUEBEARD. That does no good ! You must 
die! 

Cela ne sert de rien! II faut mourir! 

( Then in the most approved villain-kills-the- 
heroine style he gathers up her hair in one 
handy and with the other he lifts the cut- 
lass high, and is about to bring it down.) 
32 



BARBE BLEUE 



WIFE. Grant me one brief moment to collect 

myself ! 

DonneZ'tnoi un petit moment pour me recueil- 

lirf 

BLUEBEARD. No, no ! Commend yourself to 

God! 

Non, nan! recommande-toi a Dieuf 

{There is an uproar outside, bluebeard's 
arm remains suspended. The door bursts 
open, and in rush the two brothers with 
drawn swords.) 

BLUEBEARD. My wife's brothers! 
Les freres de ma femme! 

(BLUEBEARD drops his cutlass, and seeks 

refuge in his closet. The brothers force 

the door open, and ''pass their swords 

\ through his body, and leave him dead,'' 

I says the story. They close the door of 

the closet.) 

(ANNE has followed her brothers in, and is 

kneeling beside her sister.) 

DRAGOON. My sister, you are saved! 

Ma sceur, tu es sauvee! 

MUSKETEER. Yes, my sister, Bluebeard is 

dead ! 

33' 



BLUEBEARD 



Old, ma S(jeu}\ Barbe Bleue est mort! 
ANNE. God be praised ! 
Dieu so'it lone! 

{They lift WIFE to her feet,) 
{Enter the ladies of rank, the nobleman, 
and the honest man.) 

LADY. My dear child, we know all about it — 
we see it all! 

Ma chere enfant^ nous le savons bien — nous 
le voyons bien! 

honest man {taking the wife's hands). My 
gracious friend, how you have suffered! 

Ma gracieuse amie^ que vous avez soufert! 

lady. Bluebeard had no heirs. So you are 
mistress of his entire estate. 

Barbe Bleue n^avait pas d'heritiers. Ainsi tu 
es mattresse dc tons ses hicns. 

WIFE. I shall use one part to marry sister 
Anne to this young Nobleman whom she has 
loved for a long time. 

ren employerai une partie a marier ma sceur 
Anne avee ce jeune gentilhomme dont ellc est 
aimee depuis longtemfs. 

NOBLEMAN. Thank you, dear Madam! 

Je vous remercie^ nia chere Madame! 

ANNE. Oh! My sister! 

Oh! Ma soeur! 

34 



BJIZBE BLEUE 



(anne and the nobleman go apart.) 

WIFE. And I shall use another part to buy 
Captain's commissions for my dear brothers. 

Et fen employerai une autre partie a acheter 
des charges dc capitaine a mes chers freres. 

DRAGOON. 1 thank you, sweet sister ! 

Je te remerc'ie, ma douce sxur! 

MUSKETEERS T thank you, sweet sister! 

Je te remercie^ ma douce sa'ur! 

{The brothers stand aside talking excitedly 
with their mother.) 

WIFE. And I shall use the rest — 

Et f en employerai le reste — 

HONEST MAN. Will you not use the rest in 
marrying an honest man who will make you for- 
get the unfortunate time you have spent with 
Bluebeard? 

N^ employ ereZ'Vous pas le reste a vous marier 
a tin honnete homme ([id vous fera outlier le 
mauvais temps que vous avez passe avec Barbe 
Bleuef 

CURTAIN 



35 



Unusually Good Entertainment'^ 



d 



Read One or More of These Before Deciding on 
Your Next Program 



A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
^uthor of the popular successes, "Graduation Day at Wood Hill/ 
ISchool," "Back to the Country Store," etc. The villagers have^ 
planned a birthday surprise party for Mary Brinkley, recently' 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
the surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be dotibled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages two men to run the 
machine. A Jew, a farmer, a fat lady and other humorous 
characters give them all kinds of trouble. This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to tvv^enty or 
more. Time, forty minutes. The play requires neither scenery 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-tiro 
fun from start to finish. 

THE PENN PUBLISHiNG COMPANY 

PHlLADELPHi^ 




ood Entertainments 



Read One Qr More of These Before Deciding on 
Your Next Prograsn 

GBADUATION DAY AT WOOB HILL SCHOOL. 
An Entertainment in Two Acts, by Ward Macauley. For six 
males arid four females, with several minor parts. ^ Time of 
playing, two hours. Modern costumes. Simple interior scenes; 
may be presented in a hall without scenery. The unusual com- 
bination of a real "entertainment," including music, recitations, 
etc., with an interesting love story. The graduation exercises 
include short- speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. 

EXAMINATIOH DAY AT WOOD HILL SCHOOL. 

An Bmtertainment in One Act, by Ward Macauley. Eight mal!!. 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to m.arry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answei» 
to questions. At the close Robert Coleman, an old lover, claims 
the tcocher. Very easy and very effective. 

BACK TO THE COUNTH'r STOKE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
iind five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "'Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure bvit is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
(scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modei'n politics and to work in local gags. Every 
part will make a hit. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played v/ithout set 
scenery. Costum.cs, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work, A very jolly entertainment of the sort adapted 
to almost any place or occasion. 

COMPANY 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook Thi« List 

YOUNG DOCTOR DEVINE, A Farce in Two Acts, 
by Mrs. E. J. H. Goodfellow. One of the most popular 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod- 
ern costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner, 

SISTER MASONS. A Burlesque in One Act, by Frank 
DuMONT. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep, 
and they institute a similar organization, 

A COMMANDING POSITION. A Farcical Enter- 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. Slie decides to "attain a commanding position." 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters. 
Time, half an hour. Scene, an easy interior. Costumes, modern. 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend. 
Maude sees Mabel has a secret, she coaxes and Mabel tells her. 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter- 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order to 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Miss 
Howe and Miss Ashton in the face of many obstacles, furnish 
an evening of rare enjoyment. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



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40 J 2 Chestnut Street 



Philad< 



